Four Year Strong is a pop-punk quartet from Massachusetts, they came together in 2001. On Nov. 8 the band will release their fourth full-length album In Some Way, Shape or Form which contains the single “Stuck in the Middle.” They are currently on the Alternative Press Tour and played at the Beaumont Club in Kansas City on Oct. 28. The tour also includes Gallows, Sharks, The Swellers, and Title Fight. Joe Weiss from Four Year Strong took some time while on tour to answer a few questions for Elicia Nichols.
PW: When did Four Year Strong form and what brought you guys together to form the band?
Joe Weiss (Four Year Strong): The band started in 2001 and as friends living only a few blocks away from each other, we would always jam out together. Music was always something that we enjoyed and we would spend a lot of timing playing music together.
PW: What is the meaning behind the band name?
JW: Our band name dates back to when we were around 14 years old, we changed the words to some lyrics from a song by The Get Up Kids to get the name Four Year Strong.
PW: What inspired you to pursue a career in the music industry?
JW: Playing music with your friends was more fun, inspiring and better than anything that we felt we were learning or doing in school.
PW: What message do you send to the listeners through your music?
JW: I would say that every song is different and has a different message. Some songs simply tell stories, while others are about family members who have passed away, but I would definitely say that every song has its own element and message.
PW: How would you describe your music for people who have never heard your name or sound before?
JW: Our music has a heavy rock sound, but with an element of party.
PW: With your fourth album In Some Way, Shape, Or Form due out November 8, how would you say that your sound has changed from your first album to now?
JW: I’d say it is a better sound. We are leaning more towards rock, and away from the punk feeling that others would say we first had.
PW: What has been the biggest highlight so far as you headline The AP Tour?
JW: The best experience so far has been actually a few nights ago in Chicago where we performed at a great venue called The Metro. It was a really fun show. We love Chicago. We love the people, we love the pizza and we love playing shows there.
PW: With Halloween approaching, what is your favorite horror film?
JW: I’d have to say my favorite horror film is Dead Alive by Peter Jackson. It’s a great movie that came out before he did all the “Lord of the Ring” stuff.
PW: If you were to be in a horror film how would you choose to die in your death scene?
JW: If I am to die in a horror film I’d want it to be in a sweet car crash. Maybe even throw in some cool zombies and stuff, you know?
Beaumont Club is usually one of the few venues that you can count on to start on time, but Friday, they actually started just a few minutes early. Unfortunately, many were still in line to get in when New Zealand’s The Naked and Famous took to the stage with “All of This,” the opening track off their debut album, Passive Me, Aggressive You. Then the familiar synth trickle intro to “Punching in a Dream” resounded across the venue. If the audience wasn’t already hooked on this band with the first song, this one did the trick. There’s no way to stand still for this addictive Passion Pit-esque tune. A little later in the set, audience member’s who had just seen that week’s episode of “Gossip Girl” and heard “The Sun” were treated to a live rendition of the song, which at times had musical similarities to some of Phoenix‘s more instrumental-based songs. “Girls Like You” and US radio hit “Young Blood” ended out the stellar set. Alisa Xayalith and Thom Powers almost sounded even better live than on record as they traded vocals back and forth for the two final electropop numbers. Do yourself a favor: catch them live if you can. In a soon-to-be-posted PopWreckoning interview with bassist David Beadle, he says that the band should be back stateside for a headlining tour in Fall 2010.
The Naked and Famous Set List:
All of This
Punching in a Dream
A Wolf in Geek’s Clothing
The Sun
(The Source)
No Way
Girls Like You
Young Blood
“Cute,” “Adorable,” “Happy” are all words that come to mind as when New York five-piece Freelance Whales take to the stage next. But just because the band have a cutesy pop sound – thanks mostly to their avid use of glockenspiel – don’t brush them off as not serious music. They may sound like Owl City, but their songs also have the depth of a Death Cab for Cutie. The band played songs mostly off their debut album Weathervanes, many of which are familiar to through their popular use on TV shows and Starbucks commercials such as “Generator ^First Floor” as well as “Generator ^Second Floor.” But it has been just about a year since the release of their banjo-plucking swirl of a debut, so they also had plenty of new songs to share with the audience. The new songs still had the bright, sound that makes them so lovable, so look out for an official release of these songs soon. Of course, the song that really got the crowd’s attention was “Hannah,” which has winding musical phrases matching the winding spiralcase mentioned in the lyrics. This was a big singalong number that really got people smiling.
The UK’s dance-rock outfit Foals headlined the night’s electric lineup. About three years ago when this group came through the US right after their debut, Antidotes, release you could count on a band that sounded great, but seemed lost in their own little world on stage. They gyrated to their tunes, but never looked up from their hands. It made them come across as a little shy and uncertain of their own performance. Well in the three years since, they sure have changed their live show performance and they seem like a brand new band – one that’s confident in their playing and capable of embracing the audience. The result – they still sound great, but it’s even easier to get hooked as their new-found enthusiasm is contagious. It’s now as interesting to watch them as it is to listen.
Foals began with “Blue Blood,” the opening track off their sophomore release Total Life Forever. The set was an even mix of songs off that album and debut Antidotes, the second track alternated to the debut’s “Olympic Airways,” and then switched back to the sophomore release for “Total Life Forever.” The vocals on that song are just a blast to sing along to, “I knoooooow a place…” the audience howled along. “To your house, down to your house,” the audience seemed to follow singer Yannis Philippakis‘ every crescendo and decrescendo for this song. But as the Foals’ set went on, all eyes were on drummer Jack Bevan. The man was a machine and tore up nearly every beat. Walking around the Beaumont before the set, Bevan is an unassuming figure, easy to glance over. But behind the drum set? He’s a jaw-dropping power house. He often added to his challenging rhythms by standing from his seat before a song and clicking his sticks together to get the audience to clap a pattern, but then sitting back down to play an unexpected syncopated rhythm. Bevan was the reason songs such as “Spanish Sahara” stand out as such amazing dance numbers. Seriously fantastic.
Foals’ Set List:
Blue Blood
Olympic Airways
Total Life Forever
Balloons
Miami
After Glow
What Remains
2 Trees
Spanish Sahara
Red Socks Pugie
Electric Bloom
//
My husband and I arrived at the Beaumont Club nice and early to get a table. The crowd was smaller than I expected, but it was still early. I didn’t anticipate much from the first opening act, Tommy and the High Pilots, but they were fantastic. I’ve found some of my favorite artists through opening acts (I’m looking at you, Miniature Tigers), and I’ll probably add these guys to the list. Their music has a Killers vibe that mixes acoustic and electric guitars, synthesizer, bass, drums, vocal harmonies and the occasional trumpet. The band looked like they were having a great time, and kept the energy high. With Matt Palermo from Ludo on drums (as a permanent member of the band), catchy and accessible songs and playfulness on stage that engages the crowd, there’s much to like. Appearances by Ludo band mates Tim Ferrelland Tim Convoy towards the end revved up the crowd for the next two acts.
After the high-energy funfest that preceded them, I was completely bored with The Graduate. Every song ran together in one long, loud deluge of noise that had no distinguishing characteristic other than reminding me of 10,000 other bands that I routinely turn off when they come up on the radio. That said, the lead guitarist had some riffs come through that caught my ear and made me wish the sound had been turned down a bit so I could hear more. They have two albums under their belt, but I’m not inclined to purchase either.
The final opener was There For Tomorrow. Like The Graduate, the sound was way too loud and needed to be notched down a few. While their energy was better than The Graduate, the performance style and music were off-putting. The melodies were clumsy and all over the place, and the lead singer was whiny and hard to understand. I enjoyed the band most when there was no singing – just instrumental, but that rarely happened. The set stretched on far too long for my tastes, but the crowd at the front of the stage was into it.
Ludo finally took the stage and the crowd (noticeably larger, but still not what I expected) went wild. If I had to describe the performance style of Ludo in one word, it would be theatrical. Not Dresden Dolls theatrical, but an engaging and often comical theatricality that makes Ludo a joy to watch onstage. Their songs are like modern-day sea shanties as interpreted by land-locked fellows 200 years too late (in a good way). Lead singer Andrew Volpe and co-front man Tim Ferrell interact with each other, the band and the crowd in a way that makes the audience feel like we’re in Ferrell’s living room being treated to an impromptu performance by friends. The band brought out music from all four of their albums, including the most recent, Prepare the Preparations. The new stuff is very similar in style to the older releases and blended well with the whole set. Highlights of the show included the band leading the audience in a dance inspired by their new single, “Whipped Cream” (think air humping many, many times), and a really nice pulled-back version of “Love Me Dead.” For this one, the band came out into the crowd and performed while the audience was seated on the floor. It was sort of like being at camp, without the s’mores.
I was incredibly nervous and intimated when I went in for a pre-show meet and greet with Julian Casablancas. Why? Well, wouldn’t you be about ready to wet your pants too if you were about to meet a musician you idolized, a guy that was about to headline the main stage at one of the US’s biggest festivals, an SNL sensation, a brilliant singer and songwriter and as if all that wasn’t enough, I was warned that Julian might be a little touchy if you brought up that “the “S” word band he sometimes performs with.”
In fact, in a soon to be posted interview with the California opening act Funeral Party, I was told that one of the guys in that band tried to bring up that “The ‘S’ word band” and got a death stare. Eeks!
Excited, but nervous, we were hustled into a hallway to wait while sound check finished up. A Julian Casablancas song melted into…yes, my ears weren’t deceiving me…a The Strokes song. It made me feel bolder and ready to meet the esteemed performer (and it made feel bold enough to finally type out ‘Strokes’).
Once Julian finally came over to us, I was completely taken aback by his genuine niceness and relaxed vibe. He shook hands with our group, his leather jacket riding up just enough to show a glimpse of a treble clef tattoo on his right wrist. A feather clip bounced around on his dark hair as he tried to make awkward small talk. This was the man I was so afraid of? The one I thought would bite my head off if I slipped up or proved not cool enough?
As the meet-and-greet wrapped up, Julian even jokingly quipped, “Don’t worry about sticking around for that second act. Funeral Party is where it is at. Does anyone even know the name of that second guy?” Modesty from one of the US’s biggest performers? Refreshing.
Funeral Party was an enjoyable set. Sparkly, reflective ‘F’ and ‘P’ cutouts adorned the stage as the guys danced around to their Head Automatica-esque grooves. They’re a fresh act from Cali, so there were a few moments where the identity got lost (um, not sure I was ready for that slip in of the Beatles), but I think if they tighten up some more they’ve got some potential to really explode int the scene.
Now, as much as I love Julian, I ignored and I stuck around for that no-name second act he told us to skip: him. He didn’t disappoint and now that he’s sobered up and gained more control over his performance, he even topped out that the time I saw him with the Strokes.
A lot of people like to criticize the Strokes for not having worked for their success, but the more I learn and see about the side projects, the angrier I become at those that would dare call these performers unworthy of their fame. Julian’s solo album is catchy, with fun dance riffs. It is similar enough to his other band that it doesn’t alienate all his old fans, but it adventures off into synth land enough as well as some other styles that it is a great push to test what he’s capable of. Live, he stands up to the album’s solid recording sound. Now, with him touring backed with a new band that includes two drummers, while he downplays his the Strokes connection, I don’t know how you could argue that he isn’t talented and working hard to establish himself.
Julian’s solo show is hard to stand still during. He is a confident performer: his vocals never waiver as he cups the microphone close. He is an obliging performer: he thanks the crowd, treats us to a new one, two songs by the Strokes and of course, the song we all wanted to hear even though it was April: the SNL Christmas cover. “Hard to Explain” was done acoustically and was a great sing along to with his signature yowls. It really get the crowd vamped up before exploding into single “11th Dimension.” This song even had extra quirks to make it stand apart from the rest: when he got to the line, “mind full of blank…” a cymbal crash filled in his next word, while he cocked his head to the side. Before announcing, “I Wish it Was Christmas Today,” Julian said, “I don’t know. We just do it. And people like it. So we do it. It’s the Christmas song,” and the crowd absolutely exploded. I can’t even get over how excited people were for this.
As much as the audience seemed to love that song, the tune I thought was unstoppable was the encore performance of “Out of the Blue.” Fittingly shadowed in blue lights, Julian finally stepped out from the microphone stand and reached out to the audience. For the first time this whole show, he not only came out of the blue, but out of his shell – he moved around more than I had ever seen him move. The crowd fed off his energy making this song extra fun.
I must say that I’m glad I ignored Julian’s advice during the meet-and-greet and I stuck around for that second performer. There’s still some dates left on this tour and if you don’t already have tickets, get them. You’ll probably never get a chance to see him in such an intimate setting again.
Julian Casablancas’ Set List:
New One
Ludlow Street
River of Brakelights
H2e (Hard to Explain – The Strokes)
11th Dimension
I’ll Try Anything (The Strokes)
Left and Right in the Dark
Xmas (SNL cover)
–
Out of the Blue
4 Chords
(Tourist)
Underage, obnoxious drunk girls aside, I cannot remember the last time I enjoyed a show as much as I did this one. I’m still reeling from Passion Pit and all shows since have been ho hum in comparison.
For those who have been living under a rock, Passion Pit is an electronic dance act that began as a solo project of Michael Angelakos. I’ve been following the act since the early Chunk of Change EP through present day. They just released a deluxe version of Manners available here.
Maybe it was that I was just too excited for Passion Pit or maybe it really was that the openers were lackluster, but bizarre genre picks in the southern/grunge rock of Bear Hands and the soul jams of Mayer Hawthorne and the County had me scratching my head. Bears Hands is relatively new, and I think with some more practice, they might be able to sort out some of their pitch problems. Mayer Hawthorne and the County was just kind of odd. They wore matching suits and the lead singer was prone to large gestures. I think he spent at least 90 percent performing with his hands stretched out above his head as if conducting a choir. They did throw me for a major loop when they mixed in a bit of Biz Markie’s “Just a Friend.” Perhaps in another setting, these openers would have been better, but I think the venue was just too big, their sounds too garbled in the system and the biggest issue of all for me – they were just out of place. I wanted to dance and neither could deliver.
Mayer Hawthorne and the County Set List:
Star Time
Easy Lovin
Make her Mine
Maybe So, Maybe No
Shiny & New/Rain
Don’t Mess with Bill
One Track Mind
Blue Sky
Green Eyed Love
Biz/Just Ain’t Gonna
The Ills
Passion Pit did not disappoint on the dancing front.
Watching roadies set up was like being delivered into synth heaven. I didn’t even know that many synthesizers could be on one stage without the universe exploding. Short translation – It’s awesome.
Passion Pit delivered a set filled with popular Manners and a few surprises. Angelakos danced around the stage singing in his signature falsetto while rushing to reach out to the audience and play a few quick notes on the keys. The light show, the performance, it was all spectacular, but the really brilliance of this show was the community. I can’t decide if it was more fun to listen to Angelakos and company on “Little Secrets” or to join with the audience throwing my hands up above my head, while shouting “Higher and higher and higher.”
The set was enough to put a smile on this concert lover’s face, but then Passion Pit came back out to deliver one of the best encores ever. Off the newly released deluxe manners, Passion Pit performed a cover of The Cranberries‘ “Dreams.” Perfect for that lovely falsetto. You can check out a recording on NPR here.
A recorded mixed voice squealing “everything is going to the beat” signaled the final song of the night, “Sleepyhead.” Angelakos tried to thank the crowd and speak over the intro music to the song, but the front row all yelled for it to be started over – in unmarred completion. Angelakos stumbled back in disbelief at first before a coy smile crept up in the corner of his mouth. He nodded at his band mates and an explosive rendition of “Sleepyhead” began.
Do yourself a favor: see this band. But participate! No more leaning against back walls of venues with arms crossed and a jaded expression on your face. It’s time to participate, dance and have fun when you go to shows and Passion Pit is just the band to bring you out of your shell.
Passion Pit Set List:
I’ve Got Your Number
Make Light
Better Things
Moths Wings
Swimming in the Flood
To Kingdom Come
Let Your Love Grow Tall
Folds in Your Hand
Smile Upon Me
Little Secrets
—
Eyes As Candles
Dreams – the Cranberries cover
Sleepyhead
“A sold out punk show – that means with all the mohawks present, vision impairment is going to be a major issue.”
Kansas City’s Beaumont Club is a lovely venue, recently remodeled, but since it does host line and salsa dancing, the flat venue already makes it a little tricky to see. Then with a sold out line-up of Dropkick Murphys, Strung Out and Larry and His Flask, only one of the biggest punk shows of the season, average-female-reviewer-here was hesitant to go immerse myself in the sweaty throngs of tattooed, gauged earringed, mohawk-wearing muscle men that I pictured at this show. And while there were some who met my poor, misguided stereotype, the beauty of this tour is that it appeals to so many people of all walks of life: tiny girls, punk guys, indie kids even in plaid, etc. And with St. Patrick’s Day a few weeks away, green clothes and holding an Irish beer would have been the most apt stereotype.
Another apt stereotype was that the audience was either there for the Murphys or Strung Out, both bands having released several successful records in their 10+ years. So when Larry and His Flask took the stage, nobody quite new what to expect, but we all had faith the Murphys wouldn’t let us down in their selection of tour mates. Larry and His Flask was one spectacular surprise after another:
“Is that guy in the crowd with an upright bass?”
“Yup.”
“Is that guy standing the entire time wailing on that drum set and singing?”
“You betcha.”
“Did they just dedicate a song to all the grandmas?”
“Guess they did.”
“OMG. Did you see that guy flip the upright bass over his head?”
Enter speechless response here.
The band’s myspace doesn’t do them justice. This is something to experience live. The stage presence was insane. This was americana-punk-folk at its finest. At first, the upright bass player acted as a magnet. Those things weigh more than a small child and I’ve never seen anyone move with one as if it were as light as another guitar – and without missing a beat. Forcing myself to watch others in the band, I was impressed by the gang-vocals and the speed of the banjoist, but really left me speechless in the dust was the vocalist/drummer standing front and center. Those sticks were flying like lightning and the guy could stand a foot back from the microphone and belt out a chorus that could still be heard clearly over his powerhouse drumming.
The bar was set and it was set high. It was time to see how the veteran acts would stack up.
Strung Out was next at bat. The stage looked a bit more bare with the opening act’s bajillion instruments gone, but that was to Strung Out’s advantage. Immediately, as the first note was sounded, the singer was in the crowd. Vocals and heavy guitars practically shook the venue as excited fans reached their arms up and half moshed and half surfed. The world’s energy issues could be solved if we could find a way to harness the amount in the room at the moment of Strung Out’s set.
For those that have been living under a rock the past 14 years, Strung Out is like a punk meets heavy metal meets regular rock act – Avenged Sevenfold cites Strung Out as one of their primary influences. It’s a bit different than my usual type of music, but watching Strung Out, I got a little hooked on the mind-blowing guitar solos. You don’t see many of those in indie music where it’s just a bunch of light chords.
Following Strung Out, was everyone’s favorite Boston/Irish punk rockers: Dropkick Murphys. This band should be synonymous with awesome at this point in the game. Beers clanking, crowd-singing along to every word, it was like we were all friends magically transported away from Kansas City to an intimate pub in Ireland.The band was tight and sounded better than their recordings and countless radio singles. They, too, showed their fans love with constant time in the crowd. The piano had never been used so rockingly. It was just insane fun to watch and take part.
If you love Dropkick’s albums, you have to see the live show. It’s the way they’re meant to be experienced.
In fact, if you can (many dates have already sold out), try and get to a show on this tour immediately. You won’t regret it.
Why must good things always come to an end and why is that when it rains it pours?
The same week that late night TV fans had to bid adieu to CoCo, Kansas City was bidding farewell to JoCo.
The Beaumont Club Saturday night was as packed with people as the line up for the final Josephine Collective show was as packed with bands. In what might be a Kansas City first, people actually showed up early to see all openers, which might have been in part to most of the openers being the new projects of Josephine members.
Though all information listed 5 p.m. for the show, the first band actually started at 4:45 p.m., so showing up at 5:10 meant I missed Holy Mountain, but based on the size of the crowd and hum of kind words about the act when I arrived, it seems like it would have been a great set. They’re local to KC, so I’m sure I’ll get another chance to review them.
The first act I did catch was amazing and set the bar high for the rest of the groups. I had no idea this sort of group-this sort of music-existed in Kansas City. The group seemed to have the recipe for awesomeness down. They had the basics: drums and guitar. Then, they made it a little unusual by rounding the foursome out with a violinist and a cellist. But what really made them unique was what the drummer, Jared Bond did on the first song.
Jared already had me excited when he came out on stage because he is also the drummer for Josephine Collective and his group was the first of the offshoots that I was seeing. I guess he was inspired by the string players in his new group and he thought, ‘Hey, why not bow the drums.’ Can you imagine the shock of seeing someone whip at a bow to run along the cymbals? That’s something you don’t see every day.
The group’s sound, abetted by the Americana folk-style vocals and the driving riffs on the cello, was reminiscent of Murder by Death. They were all very skilled, but perhaps too much so — Chaski Zapata: loosen up. This isn’t a school orchestra concert. Granted, the group has only been together since fall 2009, so stage presence has room to grow, especially when the musical talent is already there.
The only real problem with this act is that they’re a little difficult to track down on the webs. At this show, all the promotional material billed them as Dolphin Lounge, but on stage it sounded like they kept introducing themselves as Root & Stem and then when I tried to track them online, they appeared to be known as Casa Real. I could understand being confusing and hiding if you are a shitty group, but these guys are good and I’m trying to shout about them from the mountaintops…well shout about them from the laptops at least. I’ve tried to contact them about their real name, so hopefully I’ll be able to update soon.
The indie pop trio Sailor Sequence followed the mystery band name group. I’ve talked about these guys before, but that show was colored by a drunken interference. It was kind of exciting to go from the folk rock into their cool piano melodies with crashing cymbals. They played five songs with each song better than the last. They’re like Explosions in the Sky meets Postal Service meets Twilight Sad.
They group glided through their five songs, taking just a few brief moments for singer Noffy to thank the crowd and sadly say that this would be the last in Kansas City, for awhile at least, while they adjust as some members move to Nashville. This group is fairly new to the scene, and already one of its greatest rising acts, so I’m sad to see them go. I look forward to seeing where the future brings them though.
The show was about midway through and it was time for two of the most anticipated openers. Ninety-Four and Black Oxygen. These two groups are the side projects of Josephine’s two lead singers, Alexander Sandate and Dillon Devoe, with Alex leading the Atlanta-based Ninety-Four and Dillon helming the Kansas City-based Black Oxygen.
Watching both groups, it was pretty obvious that the Josephine spirit would at least live on. Heck Ninety-Four practically looked like they were Josephine with six members swarming the stage. The same sort of energy and crazy intense rock was present in the acts. Ninety-Four leaned a little toward the harder metal with screaming more prevalent in the band’s first few numbers. Black Oxygen has been around for awhile, but they’ve gone through a minor rehaul since Dillon has joined. Regardless of their changes, I think they’ll still leave metal fans gasping for more. I felt Black Oxygen had a bit more consistency and control than Ninety-Four, but I think any Josephine fan will easily be pleased with what will come out of either band’s camp in the near future. At least the audience at this particular show seemed equally pleased with both bands and responded with appropriate fist pumps, moshing and claps to the beat.
After the taste of Josephine given by the side projects, the audience was geared and ready for JoCo, but while the singer’s got a rest before their final performance (and time to change their shirts), a final opener took to the stage: Kansas City’s popular alternative rock group Queen’s Club.
This is about the third or fourth time I’ve seen these guys and I just didn’t get it. To me they’re like the KC Nickelback if Nickelback added a dance beat to all their tunes. What I mean by this is that I just don’t get why the music is popular and yet it inexplicably is. The kids just ate that shit up. They danced, body surfed and I was in disbelief over the amount of fists pumping the air. Seriously? I want to like these guys. My friends say I should, but I just don’t get it and this is one club I won’t be joining.
I love getting more bang for my buck and at $5 a ticket, this show easily gave buyers their money’s worth, but all these bands later and I was getting extremely anxious for the headliners. When the full Josephine Collective (including Bond) finally came out, it was complete chaos, but in a good way. The band already has a bajillion members, but their close friends and the other bands surrounded the group as well serving as cheering sections. If you’ve ever had the privilege, it was like being at Girl Talk show minus the toilet paper and instead of electronic remixes, it was heavy rock tunes in the vain of The Used, Say Anything and Taking Back Sunday that got the bodies moving. Even during some of the band’s few slower numbers, moshing and crowd-surfing ran rampant.
Josephine Collective know how to throw a going away party. As they blasted through songs from their Living EPand We Are The Air, crowd-surfers ran rampant causing security to sweat, but Josephine to smile as Alex and Dillon hardly missed a beat as they dished out hugs and high-fives to the kids landing on stage.
One of the highlights of the set came early with the popular single, “Living.” When the guys sang, “It just stops,” the entire mass of bodies intensely moshing, surfing and singing froze before jumping back into the chorus as raucous as ever. Other great moments included an impromptu and jokingly sung tune about this being the band’s final shows that included mentionings of mustaches and other things. I also loved when one of the Sailor Sequence guys joined for a tune, and of course, I loved the colouration that the softer “Lye,” brought to the set.
“Josephine, Josephine, get back together,” Alex and Dillon quipped back and forth. But then they pointed at that much like an ex-girlfriend, you can get back together and, “Yeah, the sex is great, but then you start dating and you remember why you broke up.” Sad, but understandable.
We wanted the show to keep going, but with their entire catalog pretty much done, the boys had to let the final tune fly.
Yes, the group began to play “Freebird,” but sans special appearances of Will Ferrell and co. It was all in good fun before they began their final song of the evening and of their band’s lifetime: “Pray for Rain.”
January 23, 2010 – Josephine Collective reunited and ended it the way it should have ended. They will be missed, but with Dolphin Lounge/Casa Real/Root&Stem, Fire for Effect, Ninety-Four, Sensational News Commentary Groove and Black Oxygen, we can all still continue the JoCo love for years to come.
In a quiet departure, the band is slipping away from their local KC scene to Nashville. Without much fanfare, the band’s final show in the city came as an opening act to fellow Kansas City group, Josephine Collective, Saturday night, January 23, at the Beaumont. This show also marked the farewell for Jospehine Collective as members split off to work on separate side projects.
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Concert Calendar
Nov 23, 2011
HaHa Tonka @ Recordbar, Kansas City MO
Nov 25, 2011
Thee Oh Sees @ The Granada, Lawrence KS
